SUBORDINATE ORDINARIES.
In order more particularly to distinguish the subordinates
in an army (the chieftains of different countries
alone being entitled to the preceding marks of honor),
other figures were invented by ancient armorists, and
by them termed subordinate ordinaries. Their names
and forms are as follows:—
The gyron is a triangular figure formed
by drawing a line from the dexter
angle of the chief of the shield to the
fess point, and an horizontal line
from that point to the dexter side of
the shield.
The field is said to be gyrony when it is covered with
gyrons.
Ex. Gyrony of eight pieces, argent and
gules.
The canton is a square part of the escutcheon,
usually occupying about one-eighth
of the field; it is placed over the
chief at the dexter side of the shield:
it may be charged, and when this is the
case, its size may be increased. The
canton represents the banner of the ancient Knights
Banneret. The canton in the example is marked A.
See KNIGHTS BANNERET in the Dictionary.
The lozenge is formed by four equal and parallel lines
but not rectangular, two of its opposite angles being
acute, and two obtuse.
Ex. Argent, a lozenge, vert.
The fusil is narrower than the lozenge, the angles at
the chief and base being more acute, and the others
more obtuse.
Ex. Argent, a fusil, purpure.
The mascle is in the shape of a lozenge but perforated
through its whole extent except a narrow border.
Ex. Gules, a mascle, argent.
The fret is formed by two lines interlaced in saltier
with a mascle.
Ex. Azure, a fret, argent.
Fretty is when the shield is covered with lines
crossing each other diagonally and interlaced.
Ex. Gules, fretty of ten pieces, argent.
At the present time it is not usual to name the number
of pieces, but merely the word fretty.
The pile is formed like a wedge, and may be borne
wavy, engrailed, &c.; it issues generally from the chief,
and extends towards the base, but it may be borne in
bend or issue from the base.
See PILE and IN PILE in Dictionary.
Ex. Argent, a pile, azure.
The inescutcheon is a small escutcheon borne within the shield.
Ex. Argent, a pale, gules, over all an
inescutcheon or, a mullet sable.
An orle is a perforated inescutcheon, and usually takes
the shape of the shield whereon it is placed.
Ex. Azure, an orle, argent.
The flanche is formed by two curved lines nearly
touching each other in the center of the shield.
Ex. Azure, a flanche, argent.
In the flasque the curved lines do not approach so
near each other.
Ex. Azure, a flasque, argent.
In the voider the lines are still wider apart; this ordinary
occupies nearly the whole of the field: it may be
charged.
Ex. Azure, a voider, argent.
The tressure is a border at some distance from the
edge of the field, half the breadth of an orle: the tressure
may be double or treble.
Ex. Or, a double tressure, gules.
Tressures are generally ornamented, or borne flory or
counter flory as in the annexed example.
Ex. Argent, a double tressure, flory
and counter-flory, gules.
CHARGES BORNE IN COATS OF ARMS.
At first when the Feudal System prevailed, not only in
England, but other parts of Europe, none but military
chieftains bore Coats of Arms. And as few persons held
land under the Crown but by military tenure, that is,
under the obligation of attending in person with a certain
number of vassals and retainers when their services were
required by the king for the defense of the state, heraldic honors were confined to the nobility, who were
the great landholders of the kingdom. When they granted
any portion of their territory to their knights and followers
as rewards for deeds of prowess in the field or
other services, the new possessors of the land retained
the arms of their patrons with a slight difference to denote
their subordinate degree. The ingenuity of the armorist
was not then taxed to find a multitude of devices
to distinguish every family. And when chivalry became
the prevailing pursuit of all that sought honor and distinction
by deeds of arms and gallant courtesy, the
knights assumed the privilege that warriors in all ages
have used; viz. that of choosing any device they pleased
to ornament the crests of their helmets in the field
of battle, or in the mock combat of the tournament:
the knight was known and named from the device
used as his crest. Thus the heralds, in introducing
him to the judges of the field, or to the lady that bestowed
the prizes, called him the Knight of the Swan,
the Knight of the Lion, without mentioning any
other title. And knights whose fame for gallantry and
prowess was firmly established, had their crests painted
over their coats of arms. In two or three generations
the bearer of the arms established his right to a new
crest, and the heralds, to preserve the memory of the
ancient honor of the family, introduced the old crest
into the coat of arms, either as a charge upon the
principal ordinary, or on an unoccupied part of the
field. This will in some measure account for the
variety of animals and parts of animals found in
shields of arms. When the sovereigns of Europe,
to decrease the power of the great barons, bestowed estates
and titles not only for deeds of arms, but wisdom
in council, superior learning, and other qualities which
the original bearers of arms thought beneath their notice,
the heralds were obliged to invent new symbols
in emblazoning the arms of the modern nobility; and
when arms were granted to civic and commercial corporations,
and to private individuals who had no claim
to military honors, we can easily conceive that the ingenuity
of the armorists was severely tested, and excuse
the apparent confusion that prevailed in granting
arms after the War of the Roses. Sir William Dugdale,
in his treatise entitled "Ancient Usage in bearing
Arms", states that, "Many errors have been and are still
committed in granting coats of arms to such persons as
have not advanced themselves by the sword, being such
as rise by their judgment or skill in arts, affairs, and
trades"; with good reason affirming that the latter
should however only be allowed "notes or marks of honor fit for their calling, and to show forth the manner
of their rising, and not be set off with those representations
which in their nature are only proper for martial
men."
It would be utterly impossible to give either a graphic
or written description of all the charges in a book
of this size or even in one ten times as large. The
sun, moon, stars, comets, meteors, have been introduced
to denote glory, grandeur, power, &c.; lions,
leopards, tigers, serpents, stags, have been employed to
signify courage, strength, prudence, swiftness, &c.
The application to certain exercises, such as war,
hunting, music, fishing, has furnished lances,
swords, armor, musical instruments, architecture, columns,
chevrons, builders' tools, &c. Human bodies,
or distinct parts of them, are frequently used as charges.
Trees, plants, fruits, and flowers have also been admitted
to denote the rarities, advantages, and singularities
of different countries.
The relation of some creatures, figures, &c. to particular
names has been a fruitful source for variety of
arms. Thus, the family of Coningsby bears three conies;
of Arundel, six swallows; of Corbet, a raven; of Urson,
a bear; of Camel, a camel; of Starky, a stork; of
Castleman, a castle triple-towered; of Shuttleworth,
three weaver's shuttles. Hundreds of other names might
be given, but the before-mentioned will be sufficient to
show the reader the origin of many singular charges in
coats of arms.
Not only were natural and artificial figures used, but
the lack of information on Zoology and other branches
of Natural History led to the introduction of fabulous
animals, such as dragons, griffins, harpies, wiverns, &c.
A great number of charges, indeed most of them that
require explanation, will be found in the Dictionary of
Heraldic Terms, which will prevent the necessity of describing
them more at large in this part of the book.
THE EXTERNAL ORNAMENTS OF ESCUTCHEONS.
The ornaments that accompany or surround escutcheons
were introduced to denote the birth, dignity,
or office of the person to whom the coat of arms belongs.
We shall merely give the names of the various
objects in this place, and refer the reader to the different
words in the Dictionary. Over regal escutcheons
are placed the crown which pertains to the nation over
which the sovereign presides. The crown is generally
surmounted with a crest: as in the arms of the kings
of England, the crown is surmounted by a lion statant,
guardant, crowned.
Over the Papal arms is placed a tiara or triple crown,
without a crest.
Above the arms of archbishops and bishops the mitre
is placed instead of a crest.
Coronets are worn by all princes and peers. They
vary in form according to the rank of the nobleman.
A full description will be found in the Dictionary of
the coronets of the prince of Wales, royal dukes, dukes,
marquises, earls, viscounts, and barons.
Helmets are placed over arms, and show the rank of
the person to whom the arms belong: 1st, by the metal
of which they are made; 2dly, by their form; 3dly, by
their position. See the word HELMET in the Dictionary.
Mantlings were the ancient coverings of helmets to
preserve them and the bearers from the injuries of the
weather. It is probable that they were highly ornamented
with scroll-work of gold and silver, and their
borders or edges cast into fanciful shapes. They are
now formed into scroll-work proceeding from the sides
of the helmet, and are great ornaments to an escutcheon.
See a more full description under the word
MANTLING.
CHAPEAUX.
A chapeau is an ancient hat or rather cap of dignity
worn by dukes. They were formed of scarlet velvet
and turned up with fur. They are frequently used
instead of a wreath under the crests of noblemen and
even gentlemen.
The wreath was formed by two large skeins of silk
of different colors twisted together. This was worn
at the lower part of the crest, not alone as an ornament,
but to protect the head from the blow of a mace or
sword. In Heraldry the wreath appears like a straight
line or roll of two colors generally the same as the
tinctures of the shield. The crest is usually placed
upon the wreath.
The crest is the highest part among the ornaments
of a coat of arms. It is called crest from the Latin
word crista, which signifies comb or tuft.
Crests were used as marks of honor long before
the introduction of Heraldry. The helmets and crests
of the Greek and Trojan warriors are beautifully described
by Homer. The German heralds pay great attention
to crests, and depict them as towering to a great
height above the helmet. Knights who were desirous
of concealing their rank, or wished particularly to distinguish
themselves either in the battle field or tourney,
frequently decorated their helmets with plants or flowers,
chimerical figures, animals, &c.; these badges were
also assumed by their descendants. The difference between
crests and badges as heraldic ornaments is, that
the former are always placed on a wreath, in the latter
they are attached to the helmet. The scroll is a label
or ribbon containing the motto: it is usually placed beneath
the shield and supporters; see the word MOTTO
in the Dictionary.
CHAPTER VI.
MARSHALLING CHARGES ON ESCUTCHEONS BY THE
RULES OF HERALDRY.
The symbolic figures of Heraldry are so well known to
those acquainted with the science in every kingdom of
Europe, that if an Englishman was to send a written
emblazonment or description of an escutcheon to a
French, German, or Spanish artist acquainted with the
English language, either of them could return a properly
drawn and colored escutcheon; but a correct
emblazonment would be indispensable. A single word
omitted would spoil the shield.
I.
The reader has already been informed that in emblazoning
an escutcheon, the color of the field is first
named; then the principal ordinary, such as the fess,
the chevron, &c., naming the tincture and form of the
ordinary; then proceed to describe the charges on the
field, naming their situation, metal, or color; lastly,
describe the charges on the ordinary.
II.
When an honorable ordinary or some one figure is
placed upon another, whether it be a fess, chevron,
cross, &c., it is always to be named after the ordinary
or figure over which it is placed, with either the words
surtout or overall.
III.
In the blazoning such ordinaries as are plain, the bare
mention of them is sufficient; but if an ordinary
should be formed of any of the curved or angular lines,
such as invected, indented, &c., the lines must be
named.
IV.
When a principal figure possesses the center of the
field, its position is not to be expressed; it is always
understood to be in the middle of the shield.
V.
When the situation of a principal bearing is not expressed,
it is always understood to occupy the center of
the field. Ex. See Azure, an annulet argent.
VI.
The number of the points of mullets must be specified
if more than five: also if a mullet or any other charge
is pierced, it must be mentioned.
VII.
When a ray of the sun or other single figure is borne
in any other part of the escutcheon than the center, the
point it issues from must be named.
VIII.
The natural color of trees, plants, fruits, birds, &c.,
is to be expressed in emblazoning by the word proper;
but if they vary from their natural color, the tincture
or metals that is used must be named.
IX.
Two metals cannot come in contact: thus or, cannot
be placed on argent, but must be contrasted with a
tincture.
X.
When there are many figures of the same species
borne in coats of arms, their number must be observed
as they stand, and properly expressed. The annexed
arrangements of roundlets in shields will show how they
are placed and described.
The two roundlets are arranged in
pale, but they may appear in chief
or base; or in fess, as in No. 2.
Three roundlets, two over one; if the
single roundlet had been at the top,
it would have been called one over
two.
Three roundlets in bend. They might
also be placed in fess, chief, base,
or in pale.
Four roundlets, two over two. Some
armorists call them cantoned as they
form a square figure.
Five roundlets; two, one, two, in
saltier.
Five roundlets; one, three, one, or in
cross.
Six roundlets; two, two, two, paleway.
Six roundlets; three, two, one, in
pile.
There are seldom more figures than seven, but no
matter the number; they are placed in the same way,
commencing with the figures at the top of the shield,
or in chief. If the field was strewed all over with
roundlets, this would be expressed by the word sem�.
Marshalling coats of arms, is the act of disposing the
arms of several persons in one escutcheon, so that their
relation to each other may be clearly marked.
In Heraldry, the husband and wife are called baron
and femme; and when they are descended from distinct
families, both their arms are placed in the same
escutcheon, divided by a perpendicular line through
the center of the shield. As this line runs in the
same direction, and occupies part of the space in
the shield appropriated to the ordinary called the pale,
the shield is in heraldic language said to be parted per
pale. The arms of the baron (the husband) are
always placed on the dexter side of the escutcheon;
and the femme (the wife), on the sinister side, as in
the annexed example.
Parted per pale, baron and femme,
two coats; first, or, a chevron gules;
second, barry of twelve pieces, azure
and argent.
If a widower marries again, the arms of both his
wives are placed on the sinister side, which is parted
per fess; that is, parted by an horizontal line running
in the direction of the fess, and occupying the same
place. The arms of the first wife are placed in the
upper compartment of the shield, called the chief; the
arms of the second wife in the lower compartment,
called the base.
Parted per pale, baron and femme,
three coats;—first, gules, on a bend
azure, three trefoils vert: second,
parted per fess, in chief azure, a
mascle or, with a label argent for difference.
In base ermine, a fess,
dancette gules. The same rule would apply if the husband
had three or more wives; they would all be placed
in the sinister division of the shield.
Where the baron marries an heiress, he does not impale
his arms with hers, as in the preceding examples,
but bears them in an escutcheon of pretence in the center of the shield, showing his pretension to her lands
in consequence of his marriage with the lady who is
legally entitled to them. The escutcheon of pretence
is not used by the children of such marriage; they
bear the arms of their father and mother quarterly, and
so transmit them to posterity. Annexed is an example
of the arms of the femme on escutcheon of pretence.
Baron and femme, two coats; first,
gules, a saltier argent; second, on
an escutcheon of pretence, azure, a
chevron, or.
If a peeress in her own right, or the daughter of a peer,
marries a private gentleman, their coats of arms are not
conjoined paleways, as baron and femme, but are placed
upon separate shields by the side of each other; they
are usually enclosed in a mantel, the shield of the baron
occupying the dexter side of the mantel, that of the
femme the sinister; each party has a right to all the
ornaments incidental to their rank. The femme claiming
the arms of her father, has a right to his supporters
and coronet. The baron, who only ranks as an esquire,
has no right to supporters or coronet, but exhibits the
proper helmet, wreath, and crest.
The peeress, by marrying one beneath her in rank,
confers no dignity on her husband, but loses none of her
own. She is still addressed as "your ladyship," though
her husband only ranks as a gentleman; and it is for
this reason that the arms cannot be conjoined in one
shield as baron and femme.
Ex. Baron and femme, two achievements.
First, azure, a pile or, crest a star of six points, argent;
second, gules, a cross flory argent, surmounted by an
earl's coronet: supporters, on the dexter side a stag
ducally gorged and chained, on the sinister side a
griffin gorged and chained; motto, Honor and Truth.
In the arms of the femme joined to the paternal coat
of the baron, the proper differences by which they were
borne by the father of the lady must be inserted.
If the arms of the baron has a bordure, that must be
omitted on the sinister side of the shield.
Archbishops and bishops impale the paternal arms
with the arms of the see over which they preside,
placing the arms of the bishopric on the dexter, and
their paternal arms on the sinister side of the shield;
a bishop does not emblazon the arms of his wife on
the same shield with that which contains the arms of
the see, but on a separate shield.
Arms of augmentation are marshalled according to
the direction of the College of Heralds: they are usually
placed on a canton in the dexter chief of the shield; in
some cases they occupy the whole of the chief. The
mark of distinction denoting a baronet is usually placed
on an escutcheon, on the fess point of the shield.
The rules here laid down apply to funeral atchievements,
banners, &c. The only difference, as will be
seen by the annexed examples, is, that the ground of the
hatchment is black, that surrounds the arms of the
deceased, whether baron or femme, and white round
the arms of the survivor.
In fig. 1. the black is left on the
dexter side, showing that the
husband is deceased, and that his
wife survives him.
Fig. 2. shows that the husband survives
the wife.
Fig. 3. shows that the husband and
his first wife are deceased, and
that the second wife is the survivor.
Fig. 4. The shield on the dexter
side of the hatchment is parted
per pale; first, the arms of the
bishopric; second, the paternal
arms of the bishop. The shield
on the dexter side is the arms of
the bishop impaling those of his
wife as baron and femme; the
ground of the hatchment is black round the sinister
side of this shield, showing that it is the wife that is
dead.
Fig. 5. is the hatchment of a lady
that has died unmarried. The
arms of females of all ranks are
placed in a lozenge-shaped shield.
Fig. 6. is the hatchment of the
widow of a bishop; the arms are
the same as those displayed at
fig. 4.: here the lozenge-shaped
shield is parted per pale. Baron
and femme:—first, parted paleways,
on the dexter side the arms of
the bishopric, on the sinister side
the paternal arms of the bishop. Second, the arms of
the femme: the widow of a bishop has a right to exhibit
the arms of the see over which her husband presided,
as though his death has dissolved all connection
with the see. She has a right to emblazon all that will honor her deceased husband.
For banners, pennons, guidons, cyphers, hatchments,
&c., and all other matters where heraldic emblazonment
is used in funeral processions, the reader is referred to
the Dictionary.
Origin of Coat of Arms
